‘Mountainhead’ Review: Jesse Armstrong’s HBO Movie Starring Steve Carell as a Tech Bro in Crisis Is ‘Succession’ Lite

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Without any mention of authorship, it’s evident that “Mountainhead” carries Jesse Armstrong’s distinctive style. Known for crafting the critically acclaimed HBO series “Succession,” Armstrong steps into film direction for the first time with this piece, which delves into themes of destructive masculinity and the excesses of the wealthy in a manner reminiscent of his previous work.

As a gamer diving into Armstrong’s latest creation, I can’t help but notice the raw charm of his signature snarky, profane banter and sharp character portrayals. However, this production, airing on HBO and HBO Max (who knows if they’ll change the name again), seems a bit rushed in its delivery and lacks the significant punch I was expecting. It’s undeniably fun to watch, thanks to the top-notch acting of its main cast, but it might not leave as lasting an impression on the cultural landscape.

The title points to a luxurious mountain retreat in Utah that serves as the backdrop for a reunion among four affluent tech entrepreneurs. The individual who discovered this breathtaking site should be rewarded. This quartet consists of Randall, the world’s second-richest man and the group’s “paterfamilias”; Jeff, who has developed a method to filter out fraudulent AI-produced images; Venis, creator of an all-encompassing social media network (previously portrayed by Chevy Chase on Saturday Night); and Hugo Van Yalk, the host of the event and the least wealthy among them, often mockingly called “Souper,” a nickname derived from “soup kitchen.” Jason Schwartzman brings Hugo’s character to life in an impressive performance that steals the film.

Initially, the weekend starts off as a peaceful relaxation for the four men, involving snowmobile rides and occasional pauses to jot down their wealth on their bare chests using lipstick. However, the situation rapidly deteriorates, giving the impression that the world itself is disintegrating. Conflicts erupt violently across the globe, economic markets collapse, governments crumble, and the internet becomes a breeding ground for false information.

Randall considers the circumstances thoughtfully. “This is a good initial world,” he notes, “but we’ve surpassed its limits now.

As their financial holdings continue to deteriorate, the men grow increasingly worried, especially since Randall is so wealthy that he can’t recall if he even owns a house in Buenos Aires anymore. Simultaneously, they start searching for potential opportunities to capitalize on this predicament. One of them suggests, “Perhaps we could purchase Haiti instead.

The situation continues to deteriorate as their phones keep buzzing with urgent updates. In a sudden turn of events, the water supply fails, prompting them to seek refuge in the estate’s subterranean shelter, equipped with a bowling alley and rock-climbing wall.

Moving forward, HBO’s supervisors have asked for spoiler-free reviews. To put it simply, a significant amount of events unfold following that point, and they’re mostly negative. The storyline becomes increasingly bleak, but it also takes an unexpectedly satirical turn that seems more laughable than believable. It appears that the filmmaker Armstrong’s strengths lie more in dialogue rather than physical humor, as suggested by the presentation of these scenes.

The clever dialogue in this film is its key strength, filled with lines that stick in your mind and move at a breakneck pace. Even the occasional narrative blunders are almost forgivable because it’s not everyday you find a writer who seamlessly incorporates references to philosophers like Nietzsche and Kant without coming off as pretentious.

The engaging dialogue is expertly delivered by these skilled performers, making the overall performance even more enjoyable. Although there are numerous secondary characters that briefly appear, the play essentially revolves around four main actors. They embody their obnoxious characters with an audacious energy reminiscent of the award-winning performances on Succession. To fully appreciate why Schwartzman’s Hugo’s line “I wished we could have had a really nice weekend!” is the funniest part of the film, you simply must watch it.

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2025-05-23 22:38